Wednesday, 22 March 2017

Beauty And The Beast

Beauty And The Beast, Cert: PG, 129 mins, Walt Disney Pictures.

Disney continues its prolific slate of live-action remakes. There was Alice In Wonderland, Cinderella, Maleficent and Oz: The Great And Powerful (my favourite by a yellow-brick mile). It’s a strategy with no sign of slowing down, with Mulan, Peter Pan and The Lion King all in the works, along with The Nutcracker and a Mary Poppins sequel currently being made.

Its latest re-envisioning, is of Beauty And The Beast, the 1991 classic which made history for being the first animated-feature ever to be nominated for the Best Picture Oscar. An unbelievable twenty-six years later, the decidedly dark tale of unlikely love, cursed spells, red roses and talking household objects, returns to enchant a new generation.

It’s an exuberant, bells and whistles experience: rich, glossy, dappled to within an inch of its blockbusting, GCI-sprinkled life. So much so, that all the hype generated by trailers and Twitter-spheres, can’t help but leave you feeling delighted, warm, and yet oddly hollow. The problem with being so faithful to a beloved original, is that this adaptation can feel like its set-pieces (and occasionally over-long songs) are highlights, engaged in a box-ticking exercise.

That said, it is visually absolutely stunning. The sets and costumes (by powerhouse designers Sarah Greenwood and Jacqueline Durran - Pride And Prejudice, Atonement, Anna Karenina), are phenomenal, whether it’s the bustling re-creation of a so-called ‘provincial’ town, or an austere rendering of the incandescent castle. The effects are wonderful; all the more immersive in 3D: plates are whizzing, snowballs are thrown and candles flicker.

Some performances work better than others. Emma Watson’s good, but for me, just looks too young to play Belle. The maturity of Keira Knightley or Gemma Arterton would’ve been better. Dan Stevens’ Beast, is covered under so much computerised motion-capture, that his performance disappears. Kevin Kline adds pathos, Luke Evans is terrific as a malevolently vain Gaston, and the voice-work is particularly strong. Ian McKellen has fun as the curmudgeonly cynical clock Cogsworth, and Emma Thompson’s absolutely perfect as sweet Mrs. Potts, but I’d have preferred to see them in human form for longer. The extraordinarily star-studded cast, yearning score and aesthetic flourishes, make it enduringly magical.